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Through this course I’ll be showing you how to tackle a complete, high-resolution vehicle model from start to finish in Blender. So much of the vehicle work we see in the CG world showcases pristine sports cars that most of us can only dream of owning--much less affording. You see a lot of perfectly clean, shiny surfaces with beautiful curving lines. Sports cars are a lot of fun to make and they take no small amount of skill. However, for this course I wanted to do something a little different. Unlike with sports cars, where the goal is clean and pretty, here we’re aiming for dirty, rugged, and beat-up. This is a vehicle that has been thrown together with spare parts, elbow-grease, and no small amount of duct tape.

For the stories we read, the "neuro-semantic encoding of narratives happens at levels higher than individual semantic units and that this encoding is systematic across both individuals and languages." This encoding seems to appear most prominently in the default mode network
[52]
.

Some approaches treat narratives as politically motivated stories, stories empowering certain groups and stories giving people agency. Instead of just searching for the main point of the narrative, the political function is demanded through asking, "Whose interest does a personal narrative serve"?
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This approach mainly looks at the power, authority, knowledge, ideology and identity; "whether it legitimates and dominates or resists and empowers".
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All personal narratives are seen as ideological because they evolve from a structure of power relations and simultaneously produce, maintain and reproduce that power structure".
[54]

Therapeutic storytelling is the act of telling one's story in an attempt to better understand oneself or one's situation. Oftentimes, these stories affect the audience in a therapeutic sense as well, helping them to view situations similar to their own through a different lens.
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Noted author and folklore scholar, Elaine Lawless states, "…this process provides new avenues for understanding and identity formation. Language is utilised to bear witness to their lives".
[57]
Sometimes a narrator will simply skip over certain details without realising, only to include it in their stories during a later telling. In this way, that telling and retelling of the narrative serves to "reattach portions of the narrative".
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These gaps may occur due to a repression of the trauma or even just a want to keep the most gruesome details private. Regardless, these silences are not as empty as they appear, and it is only this act of storytelling that can enable the teller to fill them back in.

Psychodrama uses re-enactment of a personal, traumatic event in the life of a psychodrama group participant as a therapeutic methodology, first developed by psychiatrist,
J.L. Moreno
, M.D. This therapeutic use of storytelling was incorporated into
Drama Therapy
, known in the field as "Self Revalatory Theater." in 1975] Jonathan Fox and Jo Salas developed a therapeutic, improvisational storytelling form they called
Playback Theatre
.

Zombieland

Set in an undead-plagued America, Zombieland follows an unlikely band of survivors with the end goal to survive and make quips every other minute. It’s the perfect pick for someone who doesn’t even like the undead, bookended perfectly by one of the most unforgettable cameos in movie history.

I don’t think director Xavier Gens has a lot of faith in humanity. In his The Divide, an unlikely group of nuclear survivors take shelter in the underground of an apartment complex and it isn’t long before they ruin what little’s left of each other’s lives.

As the radiation sets in, the group splits into factions of differing mental states and attitudes — you won’t even recognise some of the characters by the time the credits roll. The Divide is an utterly horrific and affecting movie, so maybe bring a bucket with you before you watch it. Maybe some citalopram, too — it’s seriously depressing.

The Day deserves to be talked about not as the best post-apocalyptic movie ever made, or even one of the better ones on this list. No, The Day deserves recognition for being a part of an elite club of movies from WWE Studios that don’t totally suck.

While it does often smack of being a low-budget affair, The Day has a gritty and grimy hue to it that feels quintessentially “all hope is lost”. There aren’t any zombies in this one, just a bunch of morally questionable people doing morally questionable things. It also has quite a gripping villain, even if he does come from the Far Cry school of bad dudes.

The most recent entry on this list,
A Quiet Place
follows a family trying to lead a conventional life in an unconventional world where every sound could spell death. It’s just as tense as it sounds, made even more so by some of the best audio design in any movie -let alone horror- in years.

A Quiet Place

It’s a sparse and deliberately paced film that is as much about the family at its center as it is the jump scares. A Quiet Place could prove to do for horror movies in 2018 what
Get Out
did in 2017; it’s that good. Here’s the verdict
from our review
:

“A Quiet Place stands as a testament to what is possible with a camera and a microphone. Every detail and technical flash is meticulous in its construction, not a single flicker of light or loud crash is wasted. If John Krasinski continues down this path, we may have a modern horror great on our hands. If he doesn’t, his future contributions to the art will still leave us satisfied.”

If you had to pick one word to describe
The Road
, it would be “bleak”. There isn’t a moment of joy to be had in this faithful Cormac McCarthy adaptation, so it’s probably not the best choice if you’re feeling a little blue. Watch it in the right mood, however, and it may just be the most perfect post-apocalyptic movie there is.